Alberto Zambenedetti

Assistant Professor
Cinema Studies Institute and Department of Italian Studies

Office: Room 209, Carr Hall, 100 St. Joseph Street
Phone: 416-926-1300, Ext 3346
Email: alberto.zambenedetti@utoronto.ca

 

Research and Teaching:

Alberto Zambenedetti’s research focuses on the relationship between people and places, and on the different manifestations of identity politics in the Italian cinema. He is currently working on a monograph titled Screening Mobility: A History of Italian Cinema Abroad, which explores how the national film industry has grappled with social and cultural anxieties related to human mobility over the last century. His edited volumes World Film Locations: Florence and World Film Locations: Cleveland explore how the cinema has engaged with these cities both as locations and as g/local sites of film production and consumption. Zambenedetti teaches a variety of courses in Italian cinema, on time and temporality in film, on film noir (particularly in the Mediterranean context), and on cities and urbanism in film.

 

Education

Ph.D. New York University (2012)
M.A. New York University (2005)
Laurea Ca' Foscari, Venice (2001)

 

Select Publications:

Books Edited

World Film Locations: Cleveland. London: Intellect Books, 2016.

World Film Locations: Florence. London: Intellect Books, 2014.

 

Books Co-Edited

Federico Fellini. Riprese, Riletture, (Re)visioni. Firenze: Franco Cesati Editore, 2016.

 

Book Chapters

“Remaking Fellini? Peter Greenaway’s Eight and a Half Women.” Federico Fellini: Riprese, Riletture, (Re)visioni. Eds. Alberto Zambenedetti, Paola Bernardini, Teresa Lobalsamo, Joanne Granata. Firenze: Franco Cesati Editore, 2016.

“Titus,” “A Special Day,” “Roman Holidays,” “The Conformist,” “Screening Ancient Rome,” “Umberto D,” and “Rome, Open City.” World Film Locations: Rome. Ed. Gabriel Solomons. London: Intellect Publishing, 2014, pp. 22-23, 48-49, 78-79, 102-103, and 122-123.

“Modernizing Italian Migration Cinema: Film Auteurs and the Economic Boom.” The Cinemas of Italian Migration: European and Transatlantic Narratives. Eds. Sabine Schrader, and Daniel Winkler. Cambridge: Cambridge Scholars Publishing, 2013, pp.107-122.

“Intervals,” “Eva,” and “The Period Film: Venice and Literary Adaptations.” World Film Locations: Venice. Ed. Michael Pigott. London: Intellect Publishing, 2013, pp. 32-33, 38-39, and 86-87.

“New coinages for old phenomena: from terrone to extracomunitario and beyond.” From Terrone to Extracomunitario: New Manifestations of Racism in Contemporary Italian Cinema. Ed. Grace Russo Bullaro. Leicester: Troubador Publishing Ltd., 2010, pp.1-24.

“Multiculturalism in New Italian Cinema: the Impact of Migration, Diaspora, and the Post-Colonial on Italy’s Self-Representation.” Beyond Monopoly: Contemporary Italian Media and Globalization. Ed. Michela Ardizzoni and Chiara Ferrari. Lanham, MD: Lexington Books, 2010, pp.245-268.

 

Journal Articles

“Keeping the Faith. Fallen Soldiers and Catholic Iconography in Late Fascist War Cinema.” The Italianist Film Issue. Accepted.

T-SHIRT: The (Post-9/11) Discomfort of Strangers.” Short Film Studies. 7.1 (2016). In Preparation.

“Introducing Shakespeare. The Incipit in Orson Welles’ Adaptations.” Journal of Adaptation in Film and Performance. 4.1 (2011): 39-52.

The War Is (Not) Over: A Re-evaluation in the New Era of Perpetual War.” Short Film Studies. 1.1 (2011): 51-54.

“Filming in Stone: Palazzo della Civiltà Italiana and Fascist Signification in Cinema.” Annali d’Italianistica. Capital City: Rome, 1870-2010. Vol. 28, 2010.

“Francesco Pasinetti, Gondolas, Pigeons, and Piazza San Marco: Reclaiming the Image of Venice.” La Fusta. Vol. XV, Fall 2007. 90-105.

“Multiculturalism in New Italian Cinema.” Studies in European Cinema. 3.2 (2006): 105-116.

 

Translations

Dawson City: Frozen Time. Dir. Bill Morrison, 2016

It Seems to Hang On. Dir. Kevin Jerome Everson, 2015

Home. Dir. Yann Arthus-Bertrand, 2009

Steimatsky, Noa. “Cinecittà irreale: appunti attorno a un campo profughi.” Incontro al neorealismo: luoghi e visioni di un cinema pensato al presente. Ed. Luca Venzi, Roma: Edizioni Fondazione Ente dello Spettacolo, 2008 (with Barbara Garbin)

Steimatsky, Noa. “Cinecittà campo profughi (1944-1950). Bianco e Nero, 560 & 561/562, 2008 (with Barbara Garbin)